EVENING' LEDGER PHILADELPHIA, SATUKDAY, SEPTEMBER 18, 1916 NEW 'AMlTSEMISWPS: "THE TWO JANES" AT BROAD; "THE ETERNAL MAGDALENE" AT WAJBMtt THkkE IS DIRECTION i p"' ' i fAHr flesBBBBssBBBBLBBkfI9Yif Tnyv. Z'P MeTeBSBBBSBBBBBSBBBBBBBfe. flft-l 4r?-deTeBBBBBBBBBBBBBBBBBBBnl E.Ajb4iAi w W" v kvBpP'9 wwiiBtii''HHKNK i BRk'-n W yim -v 91 bbbbbbbbbbbbbbbbbbbbbbbC 4 V'vfiPPaHflliH .WMT.t b.W.:?,.JeMIMh'l lTwrMMl-., ' 'TM 'T?S'-.'?&tj fe-vv. yvnr: v lTrWWBii'jTfWii'fcViiii' rtnitral per w have certain Mf. Griffith who onco gave somo thought to a aSt'VT flickers which 'ho intended shooting across the screen tinder the .title or"Tho,Blrfh'of a Nation" The rest is history. It will repeat itself next wdek, when the famous Aim comes to tho Chestnut Street ,rv t ' Opera House. LToUpn 6n tli' Jotesters Art rpi ?ir ' A I1C "i r -r 1 i -r n liomeduan or Jxobinson Lirusoe, Jr.. JKetlects Learnedly on 'Hokum Stuff" and the Vaudeville Training School J. J ByXLOLSON, ryjng. Taudevllle la the beat training ai the world for a comedian. To make wedqne has to continually get up new ',, and itwim the better your material ,tfc more frequently It must be changed, ler, I regret to say." vaudevillians (with Jk accent 'on the vllllana) are; unconscious inrntoraantacn, and you are apt to come ' a rehearsal on Monday morning and I Sad that, the act ahead of you has appro iyrtated all of your "best Jokes, your songs 'aad even the hokum stuff, none of uhlch Sn b Mnvrlcrllt.Mt Comlo clothes are poor- props to lean upon. ana uie comedian who resorts to them rn be sure of but one good laugh on tha occasion of his first appearance. Bright fstaff, crisply told, fresh material kept up io the minute, restraint In the manner of 'trying to be too funny, and, most Im portant of all, a good audience out front sjwii iujr uumruwn -wun 9, spent ot numor ; Billy Sunday has the right Idea : that Is, to pack 'them In like sardines. Laughter 'Js infectious. If the audience1 doesn't laugh 'at nayi jokes and stories, then I try a few 'Hnrff. arm r rh.v ri. m ntt t. t. fffle. old hokum stuff. One evening. 'wenI'waH playing in "Dariclng Around" flt-the.WIntfir Garden In New York, I found r . Utfee audience unusually cold. By and by I & scene -witn Fred Leslie, who was 'Wtylng the part of a silly English lord. (M-was In evening- clothes and had some Wry handsome studs In his shirt front. 1 --. - - ,-rY " "" V..VW, A ,aa Back actum through a tin soup lad! j ."', " Buoycimeu uy a siik riDoon. i? IsUe continued with his speech a irceu 10 pry oui one ot nis siuas wiin uie MP Iadel. Owlnr to a quick chance that )evtn(ng he wore a "dickey" Instead of a rtgular shirt and I nearly disrobed him In tke operation. AUJokinir aside, fun-maklnjr Is a serious Mahiess. It is a gift In the Urat place, but lfte any other talent. It can be develoued to Ms. high degree. It was a long time before I learned the art of "feeding & laugh," as we say In the show business Many a roar of merriment has been nipped In the budd by anxiety on the part of the corn median to spring a good joke. Very often a joke will go over the heads of the audi ence. Then some one will "get It" and the chucklei begin. Presently there Is a wave of laughter and the gag lands good and hard Speaking of gags reminds me ot one of the first parts I had In an afterpiece. I was handed a thin bit of manuscript at re hearsal and had visions of some real lan guage, but Imagine my amazement upon opening the manuscript to find a few cues, half a dozen sentences, and. In parentheses, the words "gag ad lib." Having run away from school before I got to Latin, I was nonplused, flabbergasted and otherwise dis concerted. I did not know what "gag ad lib." meant. Inquiry of the -stage man ager brought out the fact that at that particular part, ot the piece I was at llbr erty to hand out nil the hokum I possessed. I had none, but I got busy, and when the piece went on I sprung all the stuff I had ever heard, could Invent and then some. JUtqr on I heard the following comersa tlon between the theater manager and the stage carpenter: "Are jou going to can that guy JolsonT" asked the stage carpenter. 1'Not on your life," said the manager. "When lie starts his ad lib. stuff, folks out Side think there Is a fight going on in the theater and they cannot get In fast enough " Ani don't forget that many of out), best comedians today learned their trade nhen they were with small shows playing in afterpieces. In the old days actors carried the afterpiece In their mind. There was no such thing as a book or manuscript. The stage manager would call a rehearsal and each actor was supposed to supply the lines to nt the Situations ahd (n that way built up a complete act These were always called afterpieces and followed the usual bill of variety. As a matter of fact, we do the same thing- in a different way at the Winter Oarden. -. P.URPLE LADIES ARE "AGAIN HER FORTE -, T . . ter att, there Is no one like -th fa- tried by time. .Not ihat Eugenie H Istalr, ;who comes io the "Walnut In 'The I JMMfrnal Magdalene;, by II. II. UcLaughlln, t svsiSMondayj la .specially old. But for j, msUadelphla sit, possesses; the; .charm PU a . UrtsnA o-C years standing, Sh J-.as played J all' sorts pf roles here often, -Doubtless, Tint? theatrical statistician could unearth r) ? .'Eugenie" Blair Clubs"" In West ; ' PUftaSelpWa" and other sections. , r)s)tsaf"Blslc baa usually been associated -J wt; heotla land startling-' heroines. The MteuoslUi a puroU tinge .was. for a xood j wh' hr"ch!ef stock; n trade. Therefore, lit !ta!hoTirpr!e to, learn that her latest rkC!ytd originally 'by Julia Arthur. Is T,'hfMofVandertog Jew destined to roam through the ages Kundry In one Incarna. t wtMi, tu a writer uociareu. -i 'But tho star talents nave Illuminates saw sympfttheUo parts. During the he. sty at the old ForepaugU stock company ' M Wghth street. Miss Blair was the lead Mt Woman. Weekly changes of bill were M nils. One week Henry Arthur Jones, Jf A aext Shaw, the next .Ttnero, i fl Ln-r PtPip-KMBj 16 .i .e. ..- ( THEATRICAL MAP OF NEAR FUTURE Musical oomedr, comedy,' melodrama and drama are about to add zest to the new born theatrical season. Some of the man agerial announcements Include the fol. lowing:, Marie Tempest, finished and fellcltloua comedienne,, will make her nrst Phlladel- pnia appearance since the revival of "The Marriage of Batty," a year and a half ago. In ''A. Idya in," by Cyril Harcourt, author of "A Pair ot Silk StocMnrs," at the 'Broad, Monday evening, October 2, The piece had a four months' run In the me tropolis last season. W. Graham Browne wil be her leading man. Mary Byan, remembered for her work In "The Fortune Hunter" and "Stop Thief," heads the cast of 'The House of Glass," by Max Marcln. the ftarrtak'n ftniiM, .. September JB, The play Is described as arama with u dash of comedy. It attacks New Tork police methods. If It's as good as "Cheating Cheaters," Mr. Maroln's cur rent Broadway succssa, "The House ot Qlasat wll be very good. What looks like a 'fine cast will be'em cloved In "Her Solalor Tlnv" - . nt... bert musical comedy, at the Iyrlo October . -"wwwni is me star, ana John Chromes ,Tmas and Margaret Romalne, sister of Hazel Dawn featured players, as yrte. with Mr, Thomas, became a prom!- .tv a.wm .I, 'BDt uiri ' miss Komalne has not been seen here since "The Midnight GlrL' The management promises la vastly different kind of chorus." Tha Moveel Wumvjrate of Cawthorn-Brlan-Sanderaan will again oblige Irt a triply eapaoity when "Sybil" arrives at the Forristj twitor M, t-by th, tac. ViT , V rt;iwjftav; and Miss '"Hfl-fiX- JS? aaaTjowm will soiasWJhojwi Cawttwra has new chaaater"fco4r. T Can JJaaoe.-Wlth Sivary7 Mm bri ; Hr-WHej-N. fh, eairaa Is to. WL'lwr a t't'.5"'' " - "5 f- w iw vHiBSBBMBssiBaaHSSBSBBssBsssaasssBjsBssassBsssMea AC1RSS INSPIRES ' ? A NEWxSONG Haviasr a elaar aacaa4 astu. vu i. u sHt hasflaf a sms; nasaea after you is del UrfsMw hrMr. At leaat that ml be tk i .aaasjas, wM kawn as a t4- wsj wwi s mmmme jpreattaweai. was knis? tsi 4ha out ia naxi4' n... wtasiwMi stBouod m Caosaen a snort-teat . 'IaaMantaliy, It oasoes U tu ICiUatMrlKMksr taaosrrow iUht. In the Bfamter au4tcaae was Halsy JC. mat jossj wrsr so unarmed wts via mm Itautts isKforawaoe that sat saasss assi agtsistsl sTT bass shsw mi f fw, mm,m Movie Trust on the Horizon? Is Tncre a TS THERE a Movio Trust coming? 'Jrfaybo you think it doesn't matter. You with your nickel, your dime, your quarter. It does. For hurry matters; lack of capital matters ; lack of ability matters ; bad sales manship matters. And those are tho results of retail methods in a wholesale industry. A good many companies are now on tho edge of bankruptcy. A good many others have moneyenough to live and to make good pictures. But how lpng will they live if they can't sell their pictures, if they can't sell them to enough theaters to make a profit? 'The problem isn't production. It is salesmanship. That needs big organization. Tho htago can and ought to bo organized small. The photoplay is a wholesale affair. Putting on a play and putting on a photoplay are pretty much the same. The average photo play costs more, but not a great deal more. Only .when a play is produced it is just a single play, seen customarily in only one thcator at a time, but when a photoplay is produced it becomes a hundred photoplays. A manufacturer can throw it clear across country in celluloid ribbons and keep it working, in scores and scores of cities and towns at the same time. Any one can got into the business of making photoplays if he has a modest bit of capital. There can never be a watertight-producing trust. Anybody can put together a photo play theater with that same necessity. There will never be a moving-picture trust. But what about selling your production? What about filling your theaters? There has got to be a big co-operation or tho thing won't work. So far the moving-picture industry has just been experimenting. First we had the Gen eral Film Company, which tried to monopolize the short-subject field. The Universal and the Mutual came dong, and we had a system of three trusts, and they made money. Then the longer1 film arrived, the present-day five-reel feature. Tho General resisted it and was almost wrecked. The others slowly woke up to tho necessity of accommodating themselves to the now thing, while fresh blood and fresh money invaded tho industry, took their best directors and best stars and created the feature programs Paramount, Metro, World, Fox, Triangle, V. L. S. E. They all made features lots of them; but they didn't all make money, for they couldn't sell enough of their product. A man named Hampton said "Trust," but he couldn't make them see the proposition or the price. The V. L. S. E. said, "Open market; buy from any program you please, Mr. Exhibitor." But the V. L. S. E. has just sold out to the Greater Vitagraph, and the "L. S. E." portion has joined Kleine and Edison in another program. Some one else said, "State rights ; jio program at all." Another man looked at Charlie Chaplin and opined, "The Btar's the thing." And some repeated, "Open market." So right now there are persons who listened to part of those remarks State-rights people like the Florida, the California, the Unity; directors liko the Whartons and Frank Powell, who decided to make careful productions in a small way and sell outside programs. A man named Selznick hoard the biggest "earful." He took a star, Clara Kimball Young, and decided to make eight pictures a year and to sell them direct to exhibitors on the strength of tho star and the story. Herbort Brenon, tho director, saw the same idea and joined him. Mary Pickford is going to mako and market her films in a similiar way, four to eight a year, care fully made and carefully Bold. It is a great idea for some stars and somo directors. But there are limits to the Selznick idea, and there are no limits to good pictures. There must be hundreds of pictures, and there aren't a dozen such stars. The problem that remains is salesmanship. How to sell a great many good pictures profitably. And that is principally how to make a film last long; how to find a definite market that will always bo thero to use up all your product. Hampton had the answer. It isn't a movie trust of producers alone. That is no cure,, It cheapens production, but it can't be made complete, and it can't guai'antee sales. Hampton wanted his trust to deal in theaters, too. He wanted it to standardize picture houses as the American Tobacco Company had standardized tobacco stores. He wanted to know that just so many fine places of amusement would use his films. He knew that that was the way out. Hampton is in the Greater Vitagraph now, and maybe he still hope3 to do it. But he is saying nothing, and the real occasion of this editorial is the rumor that a mysterious new company with $7,250,000 capital is going to use a third of its money for producing, a third for distributing and a third for selling to the public through its own chain of theaters. That sounds like the sort of business organization which has made American industry what it is. ' All hail the Movie Trust! The first, but not the last. KM. L Ine Hazards of Hazzard "Back Stage" If people knew how fascinating It was "back stage," especially at musical shows, and even to the tried Interviewer, there could be a grand rush thither after eery act. In front you get the finished picture, the nicely placed tints, the graduation of costume dertgns. ''Back stage" It Is all there, but it Is brok en Into bts. There is a delightful dla heelmnt. Color urbups split up; dis cord, but beautiful discord, replaces har mony. Tho mirror Is shattered, but It still reflects. "Back stage" at the Forrest these days reflects many things and people. It Is a toss-up which are the more inter esting. To the Inter viewer "heonle have always been more Interesting than things, bujt It was hard to keep one's eye and mind on even so picturesque a person ality as Jack If a ward's at a, recent mat inee with a riot of pigments that begins with the enormous stippled backdrop and ends in the fluttered Angers of the young ladles In "Little Miss Springtime" Mr. Hazsard won out, temporarily. Outside the dressing room a marvelous silver Pierrette was sewing In the most domestlo manner, oblivious to the call of "Little Miss Springtime's" oboes and the sigh of her violins. Two other girls prac ticed "steps." Tellow-and-green figures be gan to occupy 'xack stage." A great papier macho face a prop looked on unwinking. Back came Mr, Hazzard, overflowing with fresh Ideas and per spiration.. Tva been writing stuff for years,, Ilka every one else," he confessed. "My trunk Is full of old ones, and I may dig some of them out and try to aell them. One well.known manager has given me a bid already. But consider ray hor rible plight. I onoe wrote 'Ain't It Awful, Mabel T" Oh, If I only could live that aown: I cant. It sticks. "No matter how successful I may eventually be as a writer (It such a condl- They won't let me. .. 6 . HE ISN'T IN TJIE STORY But Conductor Prevln accounts for a great deal of tho "quick action" in "Little Misa Springtime," as the sketches ought to show. tlon Is thinkable), I wouldn't give up acting for a million dollars. As long as a manager will offer me a part, X'll keep on playlnc I love to oomede.' The thrill has never left me. I get In a blue funk on opening nights. I fidget and worry, and all the time I enjoy It. I waa so giddy over the opening here that I -was III but that waa part of tar tun." The Interview was broken, but brisk, like the surrounding scene. It began with the comedian mopping his brow, and ended with him fleeing to catoh a cue that was al most dropped. Mr. Hazzard can run after other things than cues, however. Fdr in stance, success. The last-named thing he caught recently, not as a droll mime, but as an author. New Yorkers are now seeing, and many are praising, his "Turn to the rwi Right," one of the early season successes. It Is a serio-comic crook tale. "How did jou do It? Thus the questioner. "I don't know; I only wrote It," Tie re joined. "As a matter of fact, I wrote merely the story. On the boat going to Slasconset, I told the plot to John Qolden and Wlnchell Smith. They liked It. Smith, who, I think, In one of the great est produoers of to Say, perhaps the greatest, was partic ularly pleased with It. We got to gether, and I can say we made good. But the credit's largely Smith's. He Is a rare technician; knows all the tiny tricks, the Inflections that count, and that can't be learned In any school but experience." The thread of talk snapped 'ai the comedian ran for hjs entrance. "My books? Pshaw! Tes, I've written three. One was 'Poetry and Itot', and an other 'Verse and Worse.'" (These de ItclouBly candid titles will Insure Mr. Has zard's fame not for an age, but for all time.) "Some folks think I had a hand In the lyrics of this show. I wish I had, but I dldnt. They're darn good, aren't they?" And with that he was off again, picking his way through the crowd that makes "back stage" the curious, elusive, bright place it Is. Off In a oorner, some one was whispering shouts of advice to Julian Mitchell, who a min ute before had been studying the stage from "out front." George MaoFarlane, In the vivid toggery of Teutonlo romance, strolled by humming In his velvety voice. The artlstlo-Iooklng assistant stage man ager with the pallid forehead was "ebb ing" for silence. And then with the precision of perfect drilling, the chorus began to form The fugitive elements re solved themselves Into a whole. In froth of nurest whit and silver and grape-sreen the ehnrn. poured Itself before the footlights. There was little "back .la,,. v, i.i.. . ... ...w., wu. n iitvij' luui. was fountain and the been mended. 'grips " The mlrrbr had B. D, CLOSE-UPS DESMOND, WILLIAM, leads, NYMP; b. Dublin, Ireland; ed ucated In New York; stage career, in -iuo va die?" 6H yr. in Burbank ttock, Lob A n g e 1 o a 1 starred In N. Y. in "The Judge and tha Jury." b e a a o n ' in stock in Aus tralia, 2 yrs. with, "Bird of P a r a dise"; m. p. career, NYMP. Height, B f Mlf 11 iaak. si; 'weight, 150; dark hair, dark ayes. jUrreation, baaaball. Studio addraai, N YMP, IncavStoT CeJ. At the Arcadia next week wit W. t. Hart in "The Daw Maker.- m mm MAKING THE MUSIC SUIT ALL THE MOVIE FANS Tn problem of. the photoplay orchestra oonauoter la to' make his organization pop ular, and scholarly, lowbrow and highbrow at jthe same, tlms. Ragtime and the old masters must not Jostle one another for honor, yet each must be represented. For In sea motion picture audience the devotees of Beethoven and Wagner sit aide by side. wW. those who burn inoense at the shrine of Irving Berlin and Jerome D, Kern. Kew the opposing forces, are reootvoiled makes interesting reading, 'Take, a an example the Stanley Thea. ter Orchestra, Its dlreetar, Harry "WV Merer, U adroit In making its programs1 botV snappy and dignified. Th, aoademla not 1 straek In tha overture, usually BuUea from some opera, and operatic and sympetealo watH are drawn tm liberally to heighten and enliven saUeot point of the features shown on the screen. But comedy and faros land UuMaselves caetially to Ugtrtsr raslasttsj Travetogues are awom paaiad by pastoral sad pUtti-rewM tant $& tow. CLOSE-UPS TIDGLEY, CLEO, leads, Lasky; if Jb,,Ne,r Yo.rk, c,ty My 2. "03; Nved ,n Boscobell, W(s., and Edge- as n child; stage career In N. Y. Hip. podiome chorus ,in "Arrival of Kitty" Com pany, played Ingenues in Scranton, Pa., stock eempany; at. n. career, I alero ("Old Florida,1 "The Invis ible Power," "A JaDanaaa Mol," etc.). LuWn. Universal, Lasky (-okn Goods," "The Secret vrouuu, "las neHUsB Wosaan ' stastf. fSasBTBBSsSSh mmwmWKkyBSSBSa agi AND DIRECTION ' - SJSBBBB X,f 'W Si sssaHW ' i k i SbbbbbbbbtL 1 iaBSBs I ; tvassaaKssBrS $mr2L- ' H vSjti'' ssbbsbV "H I ' iisaialiHaasalisnSvjfsaaa I A)saHRX"9sai isasaasalililililHJjPlsaialilm H I V?s?SBMsssEmaBiW-iHBBSBSBS H BasaBSkZIBSBBBBBBBBBBBBBBBrS"SBBSBJSBBMMBBBBBBBBBBBBBBBBBBH ',J'?lrSBSBSBSBSBSBBBT SGHsBaBBBaBBBaBaBaBBBB CAhi ressaBBBaBaBasal K isaaaaaaaaaaaaaaaaaaaaaaaWX.fiHsBaaaaaaasBaBalBaBEM ISsssasTssTsa' JMssaKBaBaBaBaBaBaBasaBittsf9sBTBBzsSBBVE3 ' "--.rck .iSBTSBSBTCBBSBBI , aaSSSBBBBBBBBBBBBBBBBBBBBBFSSSbSQBBSvSSSSBSBSBSKBSBBBSSBB yiTwaWaSSSSresSssTr JSsasslBBlBlBlBlBlBlBlBHIsfSSrSBlBlBlBBiaBSBWB " -i'Vf?aTsr -Bssss JsssaaBVsBVsBBVsaBVsaBVsaBVsasVsaBKMilBM , AE9'HialsslBBlBlBlBlBHsasHsBBBlBlBH I I "H9SsfB gslassssaLssssssssssssssslWPEl&laLsssBsaasalHsl I :S1bsIbbbI' WII!iaasssSBssssssss- -JSBassssiBasWl X Hero we have tho Man Friday of "Robinson Crusoe, Jr.," taking up some weighty matters of publicity with Manager Edward Blum and Press Representative Delbert Davenport, of the Lyric. Tho young man with the "dramatic editors' terror" under Jils left arm has just said smilingly: "Yes, Mr. Jolson; two columns for Saturday." The Theatrical Baedeker 'kJTlie Two Janes," a New Musical Farce,' Comes tl the Broad Eugenie Blair at the Walnut in the "Eternal Magdalene" BROAD "The Two Janes," with Harry JTIshcr, Lillian Loo, Claude West, Alaiie s Fanchoncttl, Trederick Trowbridge, Jano Fearnley, James UcElhern, Marl Glossner, Stanley Ridges, Victoria Gnuran and others. A musical farce, wital book by Norman Lee Swartout; lyrics by W. M. Cressy and Ted Robinson, sjrfi muslo by Max Faetltenheurer. "To tell, tho story," saya tho press agent, '."yotjlel uo umicipaung ana spoiling too many surprises tnat a rarca creates." AT POPULAR PRICES h WALNUT- "The Eternal Magdalene," with Eugenie Blair, Wilson Heynolds, TajWl Carroll, Charles Collier, Fanny Clifford, Mytra Bellalr, Annette, Harris uA' others. A drama by Robert McLaughlin, a Cleveland ctIUc, Ib which "tteSj -.v..... ...nuM.v... i-uuitD .,, . ucu,i, lu a. ,iuiliici, WilU 1ULB UIUUgTIlt a re- I vails t to his town to clean up Its morals; he alters hfs opinion of tho ".oldeefj profession." One xseelc only. t CHESTNUT STREET OPERA HOUSE "The Birth of .a Nation." with Henry i Walthall, Mao Marsh, Lillian Glsh. Bobble Harron, "Wallace Reld and the tH- remembered cast. D. W. Griffith's great photodrama of the Civil War, seen last! year at tho Forrest and now returning to tho city for Its first showing at pep-J ular prices. Limited engagement. , a KNICKERBOCKER "The Girl He Couldn't Buy," with Mabello Estelle and otheml A comedy-melodrama, already familiar to th ,clty In which a forlorn youM-l girl resists the temptations of a man who haa rutned her father and, leagutar herself with a youne criminal, whom she refdrmB wins n hnnnin rin. I . . ' - w -"-.-.., WWW 1 week only. CONTINUISO PIIAYS FORKEST--"Ulll Miss Springtime," with Sari Petrass, John K Hazzard and George MacFarlane. A Vlctrolaful of delicious Viennese music, with good comedy added. CAIiRiaK "Sport of Law," with Mary Boland and Frederick Truesdell. A drama by Stuart Fox, based upon the motive of revenge which takes possession ot a young woman's mind. The first. metropolitan production of a provincial and ingenuous thriller, LYRIC "Robinson Crusoe, Jr," with Al Jolson, Lawrence D'Orsay and Kitty Doner. A Winter Garden show with a plot and all the other things. Jolson at his best. ADBLPBl "Experience," with Ernest Olendinnlng, William Ingersoll and a large cast. A "modern morality play," with more reality and humanness about w A It than graced "Everyworfian." dinning acts superbly. NEW FEATURE FILIIB STANLEY First half of week. 'The HettM-? of Lies," with Edna Goodrich, a Moroseo-J Paramount film, a Burtju Holmes Trsr-J elogue from Glasgow to Edinburgh, uAi the usual rounded program. Last half ot 1 Louise Hun and TLottla Tlclifnr,l' Pi. S mous Players-Paramount film, and othwi ARCADIA First half of week, "The Dawn ; maker," with W. S, Hart, an Ince-Trl-' angle film, positively the last chapter.ofj Blllle Burke's serial, "Gloria's RoroanM,'! , aim 'timers. .uasi nail or weeK, JJM , Social Secretary," wltlr' Norma Talmafil ' '3. Continued on Kelt TUti BARD GETS THE GATE AS TRASHY POET Shades of the goodly company that gathered at the Mermaid Tavern I Here are maids of the theater who re pudiate Will Shakespeare and will hae none of him. Florenz Tempest and Marlon Sunshine, whose mother raised them to be Shakespearean actresses, have the sublime audacity to deolare that they consider him "trashy." When this sprightly pair were signing contracts for their return to vaude ville, Miss Tenfpest, In describing their new offering, said: "I do hope they like 1L I don't want to have them say after our finale, 'the rest Is silence.' " "Why, Tempy, you are "pulling Shake speare on us," remarked the booking man. "Where Is your license?" y "Say, Mr, Two-a-Day Man, Tempest and Sunshine have played Shakespearean roles and have gotten away with them. Ask Mantell. That's fair enough, Isn't ltl Our mother wanted us to be great Shake spearean artistes. At an early age we were apprenticed to Robert Mantell, and played the two little princes In 'Richard, James O'Donnell Bennett gae us a wonderful notice In Chicago and I read it whenever the world seems all wrong" "Why didn't you stick to the Shake spearean stuff t" asked a variety man. "Uecause Shakespeare seems trashy to us. Of course, his language Is pretty, but there are too many killings and murders and poison scenes. He's full ot rough stuff melodrama, In fact, Lincoln J Carter has nothing ortthe Bard We quit Shakespeare because we would rather he refined In our work. Anyway, we want to be Peter Pans and never grow up, and, If you have noticed, Shakespearean players are usually dried up old fluffs with thick ankles. So he's out" ORCHESTRA TO GIVE MORE CONCERTS The musical season may be said to begin with the printing of a story about Caruso's salary. So when one reads ''Caruso To Get J200.OOO For Singing Thirty Times," one knows where one Is, Further scanning re veals that the lissom and lyrical Lucrezta Borl has recovered her soprano, lost a year ago; Nordloa's soul has been "transmitted" to a girl prodigy, and Himma ilfiames is singing- again, after reUrlng, ' All these faots relate to 1H musical world a.' ."'- A8 tor Philadelphia, jtU not behlaahsiMl, ?h Philadelphia Qrcjwa. tra, which opens Us season in October, will during that season give more concerts than ever before In Its history, Beside the twen" ty.flve pairs of symphony eeaeerts there will be an extra performance of the Bach Pasi sion muslo la March) public school concerts wUl oonttoue adMritcacoTen ; "r play at the University of Pennn Wants and WHY HARRY FISHER IS "HENNERY" -AGAltf This story Is the product of the press 4 partment of "The Two Janes," wMj comes to the Broad Street Theater Monday night. Its hero Is Harry the falsetto grammarian, who lmmorU.ll the remarks: "Why does hlra tell those I I?" and "I'm not rude; tlchl" JN This summer the comedian raised ens, but when "The Two Janes" was i to leao on Us present tour he didn't 1 time to dispose of his stock. Undlsnjsf he crated, his tow 1, carried them In tt baggage car with other theatrical DarastHI nalla. fed and watered them reguUlM when the night was dark and the town ss on eood food. Finhr wAiild ulav the blri Presto I Broiled chlckejif milk-fed, salj freshly killed, for tha trnnrut. One WOBMM if the milk was carried In a special laoMrl car. H fvr1 a ". t v i-MfJ -5,-Vtf ,-3., ,,. ,. W ' N itf c" 1M$ IV m o M'CrNIE BLAIK to (fee Wain lte4fey in JtttflMl g)s.''
Significant historical Pennsylvania newspapers